 Hello everybody and welcome to another hobby cheating video and we're gonna try a slightly different format today. Today we're talking about painting white vehicles and so when we're talking about working with white on a vehicle we are getting out the airbrush so we're starting here in the airbrush booth. This is my solution I'm narrating over this instead of uh because it's so loud. We're beginning with a little Sinai gray as you can see there. I'm going to show you mainly on the wing because it's a nice big flat open part where I can uh really display kind of what I'm doing and what's going on so we're going to show you on one side of the wing and then you'll kind of see the rest of the vehicle jump forward in each step as I do that off camera. But the reason I'm starting here is because I'm laying down a nice darker brown tinting over all the black on my zenithal uh all the black and dark gray so I started with the standard zenithal highlight but I don't want to try to lay down uh any kind of white tone even over the air but even with the airbrush uh over that and that's the most important lesson with white. The key with painting white as opposed to a lot of other colors especially on a vehicle is you need to build it up slowly so we lay down the Sinai gray we covered up all those darker parts now we're going to go to the next color. So our next color you can see you've got that everywhere is light brown we're still not anywhere near white right but you'll notice with the Sinai gray I didn't cover everything I left the brighter real light gray parts of my previous work uh I left that more or less intact because now with the light brown I'm going to come in and basically cover over everything I'll try to leave a little bit of that Sinai in the deepest shadows especially next to those the little elements of the frame in between the wings but you see I'm being pretty aggressive with it so this is the first layer I'm laying down where the goal is to cover kind of everything right uh and again one of the tricks when you're doing white is you really want to try to build it up in these nice thin smooth layers white can very easily get chalky if you one of the things I see people do wrong often is they try to jump all the way to uh to just straight white like right away they just get out they're like oh I want to paint a white vehicle let me just get white out white paint out it feels like the right answer but it's not it's just a good way to get a chalky ugly spotty vehicle or to get work by the way these same lessons are also true with a brush the exact same thing I'm talking about here with this would also apply to the brush the next thing I want to point out is that you'll see in how I'm working you see how when the paint dries like look at the lower parts of the wing right now on screen compared to the upper parts where I'm working see how much dimmer that is this is the next really important lesson anytime you're working with light browns or wipes or anything like that they will dry much much much darker than how they look when they're wet it's a big difference that's because they are still largely transparent paints however when they're wet they have a sheen to them the natural gloss of it is reflecting white light and making it look brighter so you see here how I'm working thin you notice how I kept like I tried to make nice even thin coats and now I'm going back over my previous work a second time and really trying to build that layer up nice and gently okay I'm working ratio wise here with this light brown this is one to one with thinner even though this is already an air paint okay so now I got a nice coat of that down thumbs up next color you can see we got the rest of the vehicle there our next color is Raidome tan or whatever it's called it's something like that Raidome tan it's like a very very yellowy white out of Vallejo model air it's one of my favorite like off white colors it's a great canvas color which is what I'll ultimately want these wings to end up as so it's just a great base for the white in general once again here you can see that you notice I'm leaving a fair amount of my previous work there around the very edges if I was doing the vehicle itself this would be in the shadows right so you'll see like on the vehicle where I've left shadows around the sides of the those red porthole windows on the back for the rear for the port of the ship I guess I don't know I don't know ships on the poop deck so the here I'm just kind of again following the same thing and once again you're going to see I'm covering a lot but I'm leaving that edge still visible I'm not worrying about moving too fast I'm just doing a nice soft gentle thin layer of that white once again thin one to one here in my ratio and I'm just working multiple layers once again you'll see as it dries down at the bottom we lose some of that brightness we had originally so I kind of going back and I'm just touching up those additional areas but the key is again to just build it up nice and soft and gentle I'm also using these later steps to kind of correct anything and I'm really focusing with additional layers near the edge of the wing right where I want it to be really bright and really thin so I'm just kind of working and building those thin layers okay so now we get to the next color which is going to be ivory from pro acryl a wonderfully bright near white so it's a warm white but it uh it fits in perfectly here I'm just going to come in and now I'm covering much less space right now I'm focusing just towards the really the central part what's going to be my high highlights in this case I'm doing a big wing but if this were true on the front of the ship I would be just hitting the lower part of the curve where that curves out if it's the back of the ship I would be doing the tops of the the portal covers and the center of the back of the ship and so on right I'm really trying to focus in on those areas towards the center and towards the edges where there's going to be a nice bright white and you can see because again we're working now this is pro acryl says not near paint so this time I'm uh easily two to one with thinner probably more drifting towards two and a half to one so it's probably like seven or eight drops of thinner to a couple drops of paint but you can see then we get a nice even smooth coat as we're continuing to build that up and that's the goal we want to get that we can see that soft subtle transition out to the rest of the wing finally we're going to go when we want our nice pure white we always want to use an ink because that's going to leave it wet and and it's going to be much more smooth once again we're thin two two and a half to one and we're just going to go ahead and get a little bit of that white notice here I'm focusing toward the edges right we're working just toward the outside of the wings uh toward those very edge edge areas very center areas those places that we want to really show the brightness of the light shining through uh and then I you know I'm blowing it off with the air I was using my hand there as a visual cue to myself to know that I'm when you see me moving the airbrush like that I'm not I wasn't actually blowing paint I'm all of this is just using air you can see it's kind of wet it's a very thin white and again when it's wet it will look much brighter so I need to dry it so I'm just using just air out of the airbrush so there's no pull back of the trigger but I'm using that to just get it to dry and fade so I can actually see how white it's going to end up and then determine if in fact yep jobs are good and we're ready to go so now we want to add a little bit of subtlety to these wings so here we've got some contrast agraros uh sorry skeleton horde uh there's two different brown colors I'll sometimes use uh again this is thinned out one to one contrast is already very thin I just used standard thinner okay just standard good old uh my normal mix which is uh 80 20 Vallejo thinner to flow improver and you'll see what I'm doing here is I'm focusing on the struts aha that's what those are called they're called struts now you might say but Vince why would you go and darken your work why didn't you just leave the earlier browns there fair question well the answer is because this brown going over a white color like at the white color I've built up to is going to look very different than this brown as being the base because paint is transparent the more layers you add the more visual information you're communicating and that you get the paint looks different based on what's underneath it so here you can see we added back in a little bit of that subtle change to yellow and sepia tone through the skeleton horde at the the sort of base area of the wing and that was really the goal here okay to sort of rebuild some of that now we're going to take some of that ivory and I'm just gonna that's my final touch here is thin it way way way down this is three to one and my goal here is just to bring everything together and kind of smooth it out some of that white ink is a little harsh some of the agrera or summer sorry some of the skeleton horde is a little strong right you know when we're spraying it and we're just working it can be uh you know we're working fast and there can be little parts where it's kind of uneven this is effectively our final glaze and I realized I scooted him sideways here and then forgot to scoot him back because that's the kind of brilliant person I am see there I remembered uh at least I remembered halfway through better than I usually do but the idea here is I'm treating this hyper thin pro acrylic ivory as basically a final glaze coat to tie everything together and there you can see we've got a nice even coat so there you go that's how you get a nice smooth clean white if you liked that give it a like subscribe for additional hobby cheating in the future if you have an additional questions drop them down below but as always I thank you for watching this one see you next time